Joshua Rothkopf
Select another critic »
For 692 reviews, this critic has graded:
  • 43% higher than the average critic
  • 3% same as the average critic
  • 54% lower than the average critic
On average, this critic grades 3.1 points higher than other critics. (0-100 point scale)

Joshua Rothkopf's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Marina Abramovic: The Artist Is Present
Lowest review score: 20 Detention
Score distribution:
  1. Negative: 44 out of 692
692 movie reviews
    • 54 Metascore
    • 60 Joshua Rothkopf
    Illegal has caused a stir in Belgium, and the sincerity of the movie can't be denied. But there's little emotion to hold on to, apart from a mother's impotent concern about her wayward teenage son (Gontcharov), still on the outside.
    • 47 Metascore
    • 60 Joshua Rothkopf
    Gus Van Sant directs his players just shy of mush; he's a filmmaker capable of brilliant dares (Milk, Paranoid Park) and shocking whiffs (Finding Forrester, the pointless remake of Psycho). This one's kind of in the middle.
    • 78 Metascore
    • 60 Joshua Rothkopf
    She has real sympathy--characters that might have been brittle, mockable creations in another writer-director’s hands gain resonance here. But the filmmaker also might have very little to say apart from the way guilt enters into life, and then suddenly recedes.
    • 46 Metascore
    • 60 Joshua Rothkopf
    We might have all felt like lost children for a while, but ten years later, the innocence is shameless.
    • 73 Metascore
    • 60 Joshua Rothkopf
    No matter how sincere, Marston's effort also suffers from the lack of a burning lead as he had in Maria's Catalina Sandino Moreno. Fierce acting is a virtue you don't have to travel the world to find - or to lose sight of.
    • 53 Metascore
    • 60 Joshua Rothkopf
    Can they really be setting up a sequel at the end, with Robin as an outlaw? Let’s hope so--that’s the movie you actually wanted.
    • 82 Metascore
    • 60 Joshua Rothkopf
    Comfortable with subtle Proustian detachment, the director has taken another stab at colossal scope, this time getting lost in the cerebral folds.
    • 51 Metascore
    • 60 Joshua Rothkopf
    Snitch is a movie that cries out for the wiry B stars of yore: Robert Forster, a younger Tommy Lee Jones. And it would have occurred to a craftier screenwriter to make his hero’s walk on the criminal wild side a touch more tempting.
    • 70 Metascore
    • 60 Joshua Rothkopf
    There's a Polanskian black comedy buried in here somewhere; a sassy neighbor girl who knows too much hints at the right direction, which is never fully explored.
    • 74 Metascore
    • 60 Joshua Rothkopf
    The movie's first hour happens to be its most absorbing. Director Alexei Popogrebsky sets up the quiet tensions between his two generationally divided characters like a chess match pocked with occasional power grabs.
    • 67 Metascore
    • 60 Joshua Rothkopf
    Given Armstrong’s squirminess on the couch, you’ll wish this profile had traded a portion of its deep background for a little in-the-moment boldness.
    • 58 Metascore
    • 60 Joshua Rothkopf
    Too much of the movie feels predestined - down to the rainstorm on opening day - and subplots involving budding romance end up forcing what's implicit. Crowe, meanwhile, still can't stop abusing his vinyl collection; the aural wallpapering of Bob Dylan, Cat Stevens and others will surely please postboomer fans who haven't quite gotten the hang of silence.
    • 63 Metascore
    • 60 Joshua Rothkopf
    Shutter Island is slumming: minor but enjoyably nuts.
    • 58 Metascore
    • 60 Joshua Rothkopf
    Despite a roster of off-kilter documentarians each directing an episode, Freakonomics only partly delivers the sense of traipsing into uncharted territory.
    • 34 Metascore
    • 60 Joshua Rothkopf
    Miraculously, the movie doesn’t feel mean-spirited so much as profoundly awkward. Scripted by smart guys like Etan Cohen (Idiocracy, Tropic Thunder) and two behind-the-scenes writers on TV’s consistently excellent Key & Peele, the film feels both daring and foolhardy.
    • 57 Metascore
    • 60 Joshua Rothkopf
    How I Live Now goes to that nuclear nightmare, and Ronan, who can’t hide her smarts even when the role isn’t as good as the one she had in "Atonement," makes a feast of the journey.
    • 61 Metascore
    • 60 Joshua Rothkopf
    Lane, experiencing her career heyday, is sweet enough to have you rooting for her, even if her journey to the winner's circle is an odds-on favorite.
    • 60 Metascore
    • 60 Joshua Rothkopf
    The fine cast takes the movie as far as it will comfortably go, until Bahrani gets a case of Great American Play–itis.
    • 68 Metascore
    • 60 Joshua Rothkopf
    Into Eternity has the grandeur of ominous suggestion, but might have benefitted from a director more creatively unbound-an Errol Morris ready to play around at the end of the world.
    • 81 Metascore
    • 60 Joshua Rothkopf
    At Berkeley works beautifully as a picture of compromised activism; viewers who summon the patience to commit to its indulgences won’t feel shortchanged, even if next year’s freshmen are.
    • 49 Metascore
    • 60 Joshua Rothkopf
    Hollywood does this too; truth be told, Russia’s high-tech whitewash goes down smooth like vodka.
    • 42 Metascore
    • 60 Joshua Rothkopf
    Uncourageously, the plot gets a case of cold feet, looping back to half-written family members left in the dust. But when it’s being wild, the drama has nearly enough character to pass for distinct.
    • 66 Metascore
    • 60 Joshua Rothkopf
    This film could have done with a few more mouth beats and unlikely moments of extracurricular celebrity.
    • 67 Metascore
    • 60 Joshua Rothkopf
    If only the script had been content to stick with its let's-start-a-band verve. Like many a musical biopic, Nowhere Boy wants to explain away the man (as if a song like "In My Life" weren't explanation enough).
    • 73 Metascore
    • 60 Joshua Rothkopf
    Maybe this is a good time to mention that the director is Richard Linklater, usually a lot more versatile. Try to imagine a version of Linklater’s "School of Rock" that didn’t pivot on the manic music teacher played by Jack Black but instead, perhaps, on his boring roommate.
    • 66 Metascore
    • 60 Joshua Rothkopf
    The film feels naive for an audience that's ready for some harder truths.
    • 50 Metascore
    • 60 Joshua Rothkopf
    There's no suspense, even as Galifianakis's bone-dry earnestness sometimes kicks the movie into a realm of stealth drama.
    • 46 Metascore
    • 60 Joshua Rothkopf
    "Amadeus" it's not, but as light transitional music, the film-which has Pete Postlethwaite's final performance, as a swishy landlord-is tuneful enough.
    • 61 Metascore
    • 60 Joshua Rothkopf
    Renner and scientist Rachel Weisz are sympathetic enough (although lacking in Matt Damon's all-American approachability), and the movie flies along briskly.
    • 43 Metascore
    • 60 Joshua Rothkopf
    It ends where you want it to begin.

Top Trailers